Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Bahrain and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1971.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Copenhagen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Technova to the crunk kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sad Lovers and Giants. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Graham Central Station,
Ituana,
Rosa Yemen,
Audionom,
Warsaw,
Aaron Thompson,
Joyce Sims,
Swell Maps,
Echospace,
David McCallum,
Reuben Wilson,
The Leaves,
Harmonia,
Smog,
Reagan Youth,
T.S.O.L.,
Mad Mike,
Amon Düül II,
John Holt,
A Flock of Seagulls,
Ten City,
Roy Ayers,
It's A Beautiful Day,
The Royal Family And The Poor,
Sex Pistols,
The Barracudas,
Ossler,
Babytalk,
Qualms,
Avey Tare's Slasher Flicks,
Sixth Finger,
Buzzcocks,
Royal Trux,
Excepter,
Bill Near,
Amazonics,
Bronski Beat,
Underground Resistance,
Big Daddy Kane,
Average White Band,
Rhythim Is Rhythim,
Swans,
Masters at Work,
Pharoah Sanders,
Barry Ungar,
Avey Tare & Kría Brekkan,
U.S. Maple,
Red Lorry Yellow Lorry,
the Fania All-Stars,
Boredoms,
Gong,
the Slits,
Erasure,
Lungfish,
Boogie Down Productions,
Albert Ayler,
Junior Murvin,
Electric Prunes,
Rotary Connection,
Kurtis Blow,
Gang Green,
48th St. Collective,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.